Having last tasted root beers in 1995, we recently did an abbreviated update. The best: Chicago’s own Berghoff. The biggest surprise: Improved performance by A&W.
For buildings and cities, poverty and neglect can be better preservatives than loving care.
If someone insists on picking up the check, let them. Do not argue.
Even prompt people arrive late if they value their own time.
Intelligence is no impediment to the embrace of folly.
A Blackberry’s best use is for the polite avoidance of conversation in elevators.
Bad things don’t happen to people who don’t care.
Matchbook covers can be tiny masterpieces of vernacular commercial art. This set covers a favorite subject from the mid-20th Century, the roadside diner.
The Colorful Apocalypse: Journeys in Outsider Art, by Greg Bottoms, University of Chicago Press, 200 pages, 2007. ISBN 978-0-226-06685-1
As an outsider to outsider art, Greg Bottoms is in a great position to ask uncomfortable questions that might otherwise run afoul of the field’s shibboleths and loyalties. Unfortunately, the questions he asks in this book are often as uninformed as they are discomfiting,
Bottoms clearly wants to engage with artists as people, not performers or freaks. Yet he ends up reducing them to some of the very clichés that he seems to want to debunk. Early on, for example, he associates Howard Finster with the myth of outsider-art craziness. He writes of outsider art (and in the context, Finster): “It is more often fuelled by passion, troubled psychology, extreme ideology, faith, despair and the desperate need to be heard and seen that comes with cultural marginalization and mental unease.” Read the rest of this entry »
Sacred and Profane: Voice and Vision in Southern Self-Taught Art, Edited by Carol Crown and Charles Russell, University Press of Mississippi, 308 pages, 2007. ISBN 1-57806-916-5 (hardcover)
This book is definitely not bound for the coffee table, with its undersized images and serious, occasionally turgid, prose. But that’s not the point of this art book, whose admirable goal instead is to achieve a sober art-historical understanding of the self-taught art of the South “in the context of the makers’ experience.”
If it displays more rigor than most books on the subject, however, its authors are not immune to the wishful thinking and biographical bias that mar so much of the popular writing they aim to transcend.
The book gains momentum in fits and starts. Some essays will be more comfortable to scholars than to a general audience. Editor Carol Crown’s own heavily footnoted effort, mercifully unclogged with in-line citations, makes nuanced, useful distinctions across the theologies of artists like Howard Finster and Myrtice West. Despite their shared visionary evangelicalism, they speak in different theological languages if you understand what they are saying. Read the rest of this entry »
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